I've been asked by my kids' school to shoot their production play as part of my donation to the school. And since my kids' part of the play, i gladly accepted.

As expected no flash would be required. And during the "dress rehersal", I was asked to meet their lighting director, so as to what lighting would be required.....:Scared: :Scared: ....this were i got lost. MEETING?

I'd just normally wing it and shoot it. Apparently she wanted me to tell the lighting director what i needed, and for me to know the lighting treatment they would have for the play.

Sa mga sanay na dyan, is there something i should take note off? Any color treatment i should mention?:Dum: :Dum:

I've been asked by my kids' school to shoot their production play as part of my donation to the school. And since my kids' part of the play, i gladly accepted.

As expected no flash would be required. And during the "dress rehersal", I was asked to meet their lighting director, so as to what lighting would be required.....:Scared: :Scared: ....this were i got lost. MEETING?

I'd just normally wing it and shoot it. Apparently she wanted me to tell the lighting director what i needed, and for me to know the lighting treatment they would have for the play.

Sa mga sanay na dyan, is there something i should take note off? Any color treatment i should mention?:Dum: :Dum:

Don't know much about stage lighting but can I shoot with you kahit hindi na taga woodrose anak ko? Wala lang, gusto ko lang magpractice.

Hi Derick,

I do shoot stage plays... but not so much during the actual play. For production photos, i would normally shoot during the technical/dressed rehearsal (without the audiences), when I could basically use external lights (e.g. flash, strobes, etc.), and more importantly I could roam around the stage without worrying about disturbing the audience. It's like a pre-nuptial shooting in wedding photography.

During the play itself, I am very much limited to available light shooting and I cannot move around anymore as the audiences will get mad at me. I would normally position myself beside the lightsman so I could also coordinate my shots on the direction and amount of light he is providing. Playing around with your kelvin WB setting proves to be very useful.

Here are some shots I've managed to capture in one of the plays here in Aramco Theater (Dhahran, Saudi Arabia)...

http://i5.pbase.com/o4/29/643429/1/65972144.FNiajM8p.CTD_0056b.jpg (http://www.pbase.com/josedeluna/aladdin)

http://i5.pbase.com/o4/29/643429/1/65972368.3Of9m2e6.CTD_0076b.jpg (http://www.pbase.com/josedeluna/aladdin&page=2)

http://i5.pbase.com/o4/29/643429/1/65972389.YQ2H8Epb.CTD_0091b.jpg (http://www.pbase.com/josedeluna/aladdin&page=3)

@Aly, will sell you tickets.
@Jose, thank you. the WB tip allows me to cope with the changing scenes of the play as it develops. chances are, i can't tell the lighting director what light and how much to use considering they need it for the ambiance of the scene.

Keep 'em coming.:)

im not really sanay but there was this one time (in band camp heheheh, just really wanted to use the line hahaha, sorry)... anyway, last xmas, i shot our company xmas party presentations. the theme was broadway plays. and similar to ur plan, sir derrick, i just winged it and shot (w/out a flash too). here's what i observed and learned:

1. my best shots were those when i was beside the spot lights.
2. if i had a lighting plan/script so that i would know the light intensity and color which would be used for a scene, i could have had prepared before hand and not during the scene so as not to miss out on any shot opportunity.
3. if possible, position urself somewhere u can move around to change POVs - for variety.
4. also, having an idea of the play highlights (storyline/plot and characters) would help you prioritize shots.

ahhm... thats it so far! HTH:Grin:

just tell the director to proceed as if you weren't there, no need to provide additional lighting as this would impact on the scene's ambience and that you'd adapt and improvise to the technical conditions as it goes.
best to ask if there's a specific part where they want you to take a shot of which they may want to use for the school program or such. or perhaps they want a "company call" for a full cast shoot. or maybe per person shot... etc. etc.

I've been asked by my kids' school to shoot their production play as part of my donation to the school. And since my kids' part of the play, i gladly accepted.

As expected no flash would be required. And during the "dress rehersal", I was asked to meet their lighting director, so as to what lighting would be required.....:Scared: :Scared: ....this were i got lost. MEETING?

I'd just normally wing it and shoot it. Apparently she wanted me to tell the lighting director what i needed, and for me to know the lighting treatment they would have for the play.

Sa mga sanay na dyan, is there something i should take note off? Any color treatment i should mention?:Dum: :Dum:
just tell them to go on with their original lighting plan/design. it's a children's play, i think it will have enough light for your exposures. hth.

Guys, thank you, I might turn professional with all those tips!!! :)

I think i like the light plan, know the play highlights...........very nice:)

@Aly, will sell you tickets.

Keep 'em coming.:)

Derick, I won't charge you for my services, you don't sell me tickets. deal or no deal?

just tell the director to proceed as if you weren't there, no need to provide additional lighting as this would impact on the scene's ambience and that you'd adapt and improvise to the technical conditions as it goes.
best to ask if there's a specific part where they want you to take a shot of which they may want to use for the school program or such. or perhaps they want a "company call" for a full cast shoot. or maybe per person shot... etc. etc.

I agree with Manny,

Derick you might also want to measure the intensity of the lights during the practice run of the show, I usually have a fast tele and a fast wide when i used to document a stage play in ccp before (film days) iso 800 would be enough. if you can get a reading of at least f/125 to f/250 with your aperture at iso 400 better. If not 800 would be fine. with practice run of the show, also take note of the sequences which one do you/ or the director wants to document so you would also know where the best vantage point for such without disturbing the audience (if you decide to shoot during actual run). It is helpful for me to keep a shoot list (mental note as you dont have time to read it during the actual run then review your list during break) with its corresponding time frame of the actual run time of the show, then religiuosly follow your list. except for some candids you will encounter during the show.:)

hope this can be of help.

Hi Derick,

Perhaps, it would help if you know the lighting set-up to be used during the play. If they will be using Par 64 lights, I suggest you request that one set be used for blue filters. If there are more than four (4) different colors to be used, the suggestion of Arnel is highly recommended especially if you are shooting against the light souce which is sometimes the case. I suggest you also ask the Stage or Floor Director regarding the blocking of the different scenes so you can anticipate those decisive moments of your Kid and the Cast. Hope you didn't get confused with this info, just ask questions and I'll be glad to answer them. Until then. Best Regards and Good Luck.

Arnel, Eric,

Thanks for the insights. I will take note of all the nuances of these particluar setting. Much appreciated for taking time out to write all your suggestions.

Derick:)

Derick,

Let me share my shot at the CCP
http://www.digitalphotographer.com.ph/photography/showphoto.php?photo=2165&si=rosscapili
I requested the producer for me to observed and pre-shoot during their rehersals. I even got the copy of the flow from the director. From there i took notes of the scenes that will give an impact to my shoot. Check if your vantage position will require you not to change lens anymore, because all the scenes at play are split second execution- you have to anticipate (be there in the right vantage position on time if you are moving around- always duck as if your in a war zone so as not to annoy the viewers). Too bad if you miss a scene and you are changing lens. For me shutter priority at 8oo iso is my best bet and the MONOPOD with vertical and horizontal tilt head as your best companion. In shooting a play, this is where you can shoot with your two eyes open, frequently glancing from end to end of the stage because an interesting visuals might be happening while you are nailing a shot, a quick panning of the camera with a monopod will record this event:)

Hi Derick,

You're welcome. Glad to be of help to my neighbors there in Alabang. Inspite of the technical nuiances, remember to have fun always. If you will be shooting at the Insular Life Theatre, there is ample place to move around. The control room of the audio and lighting is on top just like in movie houses & at Repertory Philippines. The seating arrangement is also similar to the set-up at the CCP Tanghalang Nicanor Abelardo except that it is smaller and have that space with no chairs near the Technical Room. Don't forget to bring your 70-200mm f2.8 IS USM lens. Being a good photographer means that you can shoot on all types of events and conditions so each opportunity that gets along our way is a learning experience. Until then. Best Regards.